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Poster: RBNW....new and improved! Date: Dec 22, 2010 6:49pm
Forum: GratefulDead Subject: Nominations for best Lovelight

Mine would be may 3, 1969..... Absolutely smokin!

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Poster: BobsShortShorts Date: Dec 23, 2010 4:52am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

None.....never liked the song...more bathroom break time or beer run....

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Poster: Dudley Dead Date: Dec 23, 2010 8:22am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

I agree with most of what has been said here
" but less because of Pig's raps and more for the jamming." Cliff
"Pigpen's raps can get repetitive...so I often prefer the shorter Lovelights" LIA
I am sure that Pigpen would have been horrified, if he knew that we would listen, clinically to every night he did this . He might have at least varied his routine more ! Even a great standup comedian would seen less funny if you listened to him night after night , with the same jokes . Thus, for Pig's part, I like the ones where he changes his usually stuff .I think "Lovelight" , more than any of the songs of the period is a "live event", that was best experienced as so , and transfers to the less heated confines of our stereo, fares less well that the other songs .
And yes,"The testosterone fueled "take yo hands out yo pockets!" was right where I was at 17, but not where I am now. " JB
I guess you have to take it in the spirit of the show, and times . In the early days of the sexual revolution, this might have been heady stuff,but it can seem tedious or even embarrassing now . Still, if you "get with it", It can be fun; especially if the jamming is hot ! That 5/23/69 on the new RT really made me pay attention !
I thought I was the only one who blasphemously though some of Pig's raps repetitive, or lame ...

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Poster: Cliff Hucker Date: Dec 23, 2010 7:01pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

Pig's best Lovelight rap was "play your guitars!"

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Poster: light into ashes Date: Dec 23, 2010 10:29am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

On tape, Good Lovin' does hold up better as there's more jamming, less rapping (or more interesting story-rapping)...it wasn't as bound to convention as Lovelight was.

I still find the whole concept of Lovelight pretty inspiring, though, and Pigpen's speeches about just reaching over to the young lady next to you are, well, touching at times.... In spite of Pigpen's frequent odes to sex, it comes across to me as being more about the need for love and release from loneliness...something a bit deeper than just "working undercover with a boar's hog-eye"!

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Poster: Dudley Dead Date: Dec 23, 2010 12:37pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

Yeah, there is that side to it . Since it could often be the end of a show ( or set ),it has that bit of that celebratory rock n roll/sexual joy that can transcend the personal, and bring everyone together, before sending them off .
In "Good Lovin" , I think, there could be much more interaction with him and the band, when they really messed, it could be unbelievable .
In a side note, because of his macho bravado antics, in these sort of songs , his later songs , like "Operator", and " Two Souls ..." seem more poignant in their humility, to me . Now that I think of it , on some of those "Good Lovin'"s he is not just reaching over his left shoulder', he is kicked out to buy the "Brooklyn Bridge", etc.

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Poster: Arbuthnot Date: Dec 22, 2010 7:46pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

can't say i have a 'best' but these i enjoy quite a lot:

5/7/70 http://www.archive.org/details/gd70-05-07.aud.weiner-gdADT04.5439.sbefail.shnf
5/24/70 http://www.archive.org/details/gd70-05-24.sbd.hanno.6481.sbeok.shnf
4/5/71 http://www.archive.org/details/gd1971-04-05.sbd.fixed.miller.110185.flac16

edit: regarding the 5/7 show, yes it's an aud of not-the-greatest sound, but if you let that deter you, you will truly miss out on one of the great performances of the year

This post was modified by Arbuthnot on 2010-12-23 03:46:26

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Poster: Cliff Hucker Date: Dec 22, 2010 9:46pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

Fantastic selections Thomas, all of them and especially 5/24/70!

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Poster: JB Date: Dec 23, 2010 6:54pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

was listening to 5-31-69 on the way home today. and was laughin my ass off at the last five minutes. one of the few songs i don't mind bobby screaming. merry christmas all.

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Poster: William Tell Date: Dec 23, 2010 7:07am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

There is NO version in which the mix, and the playing, are more completely in sync than the first 3 min of 2-11-69, the comm release. Listen to how tight the boys are in that one...then you can turn it off or skip ahead, but you'll find no better jam of the intro sequence than on that one...Family members brought this to my attn; and they're right.

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Poster: Jim F Date: Dec 24, 2010 1:20am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

We've spoken before about how 2/11 is a personal favorite for many of us, but I never gave the Lovelight that much attention. I know it's been YEARS since I gave it a listen. Disc 1, while full of great music, never got as much play as disc 2 with me. I'm gonna have to check that out.

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Poster: William Tell Date: Dec 24, 2010 7:37am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

Focus esp on the "main/post first verse singing" @ ~ 2' mark or so; they are so amazingly tight/synch'd to one another, I've NEVER heard another in which they all play right on top of one another with perfectly sonic gaps (silence, for a millisecond) right where they should be if you follow me...

The definition of "tight" for the boys, if you ask me.

Merry, Merry, Jim!

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Poster: Jobygoob Date: Dec 23, 2010 7:28am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

I can't say if it's the best ever but this is definitely in my top ten GD shows of all time, and it's primarily because of the epic Lovelight(s) contained within.

http://www.archive.org/details/gd69-06-14.sbd.skinner.5182.sbeok.shnf

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Poster: unclejohn52 Date: Dec 23, 2010 7:58am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

Great rec! StSt>The Eleven = melt your face... love this Eleven.

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Poster: Jobygoob Date: Dec 23, 2010 9:14am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

Thanks! I'm listening to this again right now...fantastic versions of Doin' That Rag and He Was A Friend Of Mine also. What a great set.

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Poster: Cliff Hucker Date: Dec 22, 2010 7:12pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

Pretty hard to say Rich. I like the song, but less because of Pig's raps and more for the jamming.

Jerry plays some great slide during the Lovelight at the Bickershaw Festival on 5/7/72.

My very favorite performance of Lovelight just might be the tragically cut performance on 1/23/70, or at least the 6 minutes of it that we have...

http://www.archive.org/details/gd70-01-23.sbd.goodbear.88.sbeok.shnf

But I guess I'd have to say the very best Lovelight was performed at the Fillmore East on 2/11/70 with Duane, Gregg, Berry and Peter Green sitting in...

http://www.archive.org/details/gd1970-02-11.partial.sbd.greenberg-evans.28402.sbeok.flac16

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Poster: RBNW....new and improved! Date: Dec 22, 2010 7:31pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

"but less because of Pig's raps and more for the jamming"....ya well thats a given

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Poster: johnnyonthespot Date: Dec 23, 2010 10:15am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

IF we're talking about Pig songs from a jam point of few I'llpick Good Lovins everythime. Man Jerry went off on those

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Poster: portmcgroin Date: Dec 22, 2010 8:45pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

the 2/11/70 is at the taper section this week on dead.net I was checking it out and found this review later on here.
Reviewer: hgregs - - September 13, 2008
Subject: to paraphrase phil....
Was reading “Searching for the Sound” and had to look up this show after Phil talked about it in almost 3 pages of his book… here are some notes I took while I was listening:
• Jerry says to Phil of the ABB on their way to this show: “make sure you check these guys out… they’re kinda like us… They jam hard”
• Phil was startled when he heard Duane’s slide during Dark Star… Jerry hadn’t told him anyone would sit in
• Gregg “slides onto the organ bench” during Spanish Jam
• “Peter Green from the Mac plugs in just as I’m pulling the music into the dominant minor … he and Duane seem more comfortable in this space.”
• Butch joins on drums
• Mickey attacks his gigantic gong
• Mick Fleetwood and Danny Kirwan “find room to join the festivities”
• “it’s a surprisingly coherent free-for-all, with five guitarists , four drummers, organ, and – Pigpen roaring over it all”
• “Gregg takes a verse … Sounding like a fifty-year-old black man even then.”
• Pig and Gregg trade vocals
• Berry Oakley takes over on bass about halfway through Lovelight as Phil just wants to listen
• There’s a smokestack theme running throughout
• “my mind starts to stretch out of shape… Everyone on stage is flat-out wailing”

After the show, “I walk outside – it’s daylight, and snow is falling gently on the streets of New York… I grab Bob and Jerry in a group embrace: This is what it’s all about.”

Pilfering mdeloia below for the very cool picture/cd cover
http://www.geocities.com/deadpieshop3/covers/gd700211_back.jpg

i just listened to other version of this show (with like 56 reviews), which was great, but the quality of this one seems just as good. there are patches for the some of the missing segments (if not simply a more complete version).



This post was modified by portmcgroin on 2010-12-23 04:45:24

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Poster: Cliff Hucker Date: Dec 22, 2010 9:33pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

"During our set, we're tiptoeing through a quiet part of "Dark Star" when Duane Allman comes onstage and plugs in. I'm fixated on the fingers of my left hand, so I dont see him at first. Jerry plays a minimal version of the melody in place of a sung verse, and the first notes of Duane's slide guitar creep out of his speakers. I look over, startled: Jerry, that prankster, hadn't told me that he'd invited anybody to sit in. Duane a lanky towhead with a walrus mustache, is a little tentative at first, but soon gains confidence and begins adding thoughts to the flow. The music grows - and falls back into a very sparce, quiet space. Jerry takes the music into the minor tonic, and the thread becomes more and more tenuous as the dynamic remains quiet. Peter Green from the Mac plugs in just as I'm pulling the music into the dominant minor, both he and Duane seem to feel more comfortable in this space. Peter even starts to take the music into a "Smokestack Lightnin'" groove. Jerry, as deferential as ever to honored guests, steps back into a rhythm role and lets the newcomers wail. Duane steps up with some tonally ambiguous slide, while Peter and Bobby crunch away at the rhythm, aided by Jerry. The drummers and I pump up the groove a little higher, and Jerry and Duane trade a few rippin' licks. The dynamic is still fairly quiet.

Bob, meanwhile, has been hinting at a different direction - simply by playing one extra chord, he takes us into a full-blown "Spanish Jam," a four-bar pattern we'd borrowed from Miles Davis/Gil Evans album Sketches of Spain, while Jerry and Duane continue to converse. Gregg Allman slides onto the organ bench and lays down some sustained notes, and then some rapid figurations. The dynamic builds, then quiets; Duane and Gregg trade some figures. Butch Trucks joins on drums, as Mickey attacks his giant gong, unleashing waves of colored noise. Duane leaps in with a slashing, brassy figure that evokes the blues. Gregg answers, and the dynamic grows louder. Bob is thrashing away for all he's worth. By this time we have a hybrid meta-band onstage, lacking only one element - Pigpen.

Peter plays a huge climactic passage, and underneath the ending of his phrase, Bob and I slyly insert the opening riff of "Lovelight." Mick Fleetwood and Danny Kirwan, the other Mac guitarist, find room to join in the festivities. We sail into the vocal at a steaming tempo. From here on out it's a coherent free-for-all, with five guitarists, four drummers, organ, and - Pigpen roaring over it all. We go through the two verses of the song itself at least three times. Gregg takes a verse, sounding like a fifty-year-old black man even then. The band breaks down, and it's Peter and the drums, with interjections from everyone. The chord pattern changes slightly; Pig and Gregg trade vocal licks, while the guitars lament behind them. Pig takes it out and back, calling for the band to "wait a minute!" and telling his story. His lover got "boxback nitties and great big noble thighs" and "wriggles like pigs fightin' in a sack."

Berry Oakley, from the brothers, takes over on bass about halfway through. I just want to listen to this for a while, I tell him, as he plugs into my amp. The "Smokestack Lightnin'" theme returns, and the band amalgamates it into the "Lovelight" pattern. My mind starts to stretch out of shape. Everyone on stage is flat-out wailing. Danny, Duane, and Gregg take it into the closing fanfare, but Pig isn't quite done yet, exhorting everyone to "take yo' hands outa yo' pockets." The music builds to a crashing finish, and Bobby jumps to the mike and rounds it off: "From all of us to all of you, thanks and good night."

The audience slowly files out as the musicians gather behind the amp line, congratulating one another and reveling in the glory of it all. Someone opens the loading dock door behind the stage. I walk outside - it's daylight, and snow is falling gently on the streets of New York. The other musicians straggle out. We stand there, our breath steaming, and look east down the crosstown side street. A distended orange sun is rising between the buildings, casting lurid shadows in the fresh snow. I grab Bob and Jerry in a group embrace; This is what it's all about."
Phil Lesh - Searching for the Sound

http://www.archive.org/post/231102/2-11-70-fire-breathing-dragon-at-the-tapers-section

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Poster: jerrys beard Date: Dec 23, 2010 7:12am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

During my teen years, Lovelight was a hit for me. The testosterone fueled "take yo hands out yo pockets!" was right where I was at 17, but not where I am now. That tempers what has become my favorite version...this one. And it has become so because of the historicity and the musical complexity.

The ability of FIVE guitarist to not just merely exist on stage together, but all add to the complex musical interplay is astounding. Knowing when to enter, sit back, add a single chord, echo Miles, etc. simply shows the amazing genius of all involved. Phil describes this so well. Jer, Duane and Peter - three great guitarists w/Bob and Danny adding layer upon layer.

Gregg on organ, Barry on bass and drummers galore. It seems to have a mythic quality to it that transcends the specific song. So...a song I typical skip (yes, I said it), has become a classic.

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Poster: light into ashes Date: Dec 22, 2010 11:11pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

I don't have a 'best' version - but I particularly like the early Lovelights from '67, which are played in a very different groovy style (which carried into early '68) - and the last Pigpen versions, 12/15/71 and the three from Europe '72. (5/7 and 4/26 are especially good.)

Pigpen's raps can get repetitive...so I often prefer the shorter Lovelights up to early '69. (2/28/69 for instance, hit me hard.) In the later half-hour extravaganzas of '69/70, Lovelights often really lose momentum & drag on, especially when Pigpen's interrupting the band every five minutes: "Wait a minute!" Lovelight is more of a showman's piece & a chance for Pigpen to strut a while, not a Dark Star, so on tape it's not really a thrill to hear it get longer and LONGER....
7/12/70 and 11/6/70 are a couple standouts from that year. As audience recordings, they bring out the "religious revival" aspect of Dead shows, and you can hear the audiences left in awe. I also love 4/17/71 and 4/27/71 when Pigpen gets busy hooking up audience members.

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Poster: clementinescaboose Date: Dec 23, 2010 12:49am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

2/28/69 is, without question, the finest ever rendition of the song. the 7+ minute jam following the 1st verses is one of the highest musical peaks the band has ever achieved. (this is of course, imho...)

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Poster: Skobud Date: Dec 23, 2010 5:14am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

+1

Ive made no secret about my love for 2/28/69. The Lovelight is incredible.

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Poster: clementinescaboose Date: Dec 23, 2010 10:43am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

i've often wondered why this lovelight jam is much longer than the others of these feb. shows. was Pig feeling a little ill that night? or was the band just feeling the jam like they are on almost every other track!

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Poster: Jim F Date: Dec 22, 2010 11:48pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

^Couldn't have said it better. 4/26/72 has always been a favorite for the way they somehow, after a loooong show and THAT Truckin>Other One, still muster up some pretty amazingly high energy and telepathic playing throughout. That transition jam at the end with the NFA feel, then into GDTRFB, it doesn't get much better than that. It's kinda like the Europe 72 version of the Smokestack>King Bee transition of 11/19/66.

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Poster: The Deep Unreal Date: Dec 23, 2010 4:17am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

I've been enamoured with 8/6/71 ever since I first heard it during the June 1974 WHRB orgy.